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Unit-1 Canadian Poetry

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Unit-1 Canadian Poetry UNIT-1 CANADIAN POETRY Structure 1.0 Objectives 1.1 Introduction 1.2 Pre-Confederation Period 1.2.1 The First Stirrings of the Poetic Culture 1.3 Confederation Period 1.3.1 Emergence of a National Literature 1.4 Modernist Period: 1.4.1 First Phase 1.4.2 Second Phase 1.4.3 Third Phase 1.5 Postmodernist /Contemporary Period 1.6 Let Us Sum Up 1.7 Review Questions 1.8 Bibliography 1.0 Objectives · To introduce the students to an understanding of the phases of Canadian poetic culture; · To familiarize them with the representative poets of the different periods; · To help them understand Canadian response towards nature. · To enable the students to gain a knowledge of Canadian spirit in poetry. 1.1 Introduction Canadian poetry over the last two centuries divides roughly in four main periods : the pre- Confederation period, the Confederation period, the modernist period and the postmodernist period. Each period has the same integrity, the same skilful moderation that is aware of the continuity of its heritage and a recalcitrance of personality. This division of Canadian poetry does not mean the water- tight compartmentalization, rather, it is a continuous growth of Canadian poetry contributing to the cumulative identity that is Canadian. Canadian poetic culture is a growth having its first stirrings of poetics culture, emergence of a national poetic culture, transitional poetic culture, modernist poetic culture and post modernist or contemporary poetic culture. 1 1.2 Pre-Confederation Period The pre-Confederation period had the first stirrings of a poetic culture before Canada became a nation. This was the beginning of Canadian poetry spanning from the later years of the eighteenth century to the Confederation of 1867. The poetry of this period was lively and loyal and dealt with the life of the early Canadian settlers. The early settlers had the culture of exiles. Sometimes they were angry at their fate and sometimes hopeful that they might return before they died to their American homes from where they had come after American Revolution (1775-83). Besides this, there was also the feelings of excitement to have discovered a new land. The pre-Confederation poets expressed this sense of loss and displacement of an immigrant and the excitement of discovery of an explorer. They depicted the hardships and difficulties of the early settlers and hatched a graph of rise and progress of a new country. Besides these facts, they also focused on the prospects of the possessor of a new country. 1.2.1 The First Stirrings of the Poetic Culture The first stirrings of the poetic culture took place in the farthest west. Though this phase includes poets such as Robert Hayman, Joseph Stansbury, Standish O’Grady, Oliver Gold-smith, Charles Heavysege, Charles Sangster and Charles Mair, the beginning of importance was made by three Charles. Called in his own time “Canada’s national bard” and the “first important national poet”, Charles Sangster (1822-1893) became, by virtue of two books published in his thirties, the unofficial poet laureate of his day. He was born at the Navy Yard in Kingston, Upper Canada, in 1822. His father died while he was still an infant. At fifteen he went to work full time at Fort Henry where he was employed to make cartridges. Of the loss of schooling, which might have given him better preparation for a career as a poet, he said that, like many leading Canadians, he was a ‘self made man’. He had not the advantages of a classical education. All that he possessed mentally had been acquired by careful reading of the best authors (chiefly fiction). Having begun to write poems for newspapers and magazines such as The Literary Garland and the Anglo-American Review, Sangster quit Fort Henry in 1849 to become the editor of the Courier at Amherstburg. Unfortunately, the paper collapsed when its publisher died and in 1850 he took more menial employment with the Kingston British Whig, remaining for the next fourteen years. Despite the arduousness of his tasks, he managed to write The St. Lawrence and the Saguenay and Other Poems(1856) and Hesperus and Other Poems, and Lyrics(1860). The presence of love poetry in each collection reminds us of the association of two books with Sangster’s two marriages: the first to Mary Kilborne, who died eighteen months later and the second to Henrietta Meagher. Thereafter he wrote two volumes of poetry which he had hoped to send for publication but it did not happen so. A. Sangster Sangster was the first Canadian poet to achieve recognition in Canada in his life time. Adward Hartley Dewart, in his introduction to Selections from Canadian Poets (1864) stated that Sangster occupied‘first place’among the peers.In 1882 Sangster became a charter member of the Royal Society of Canada and in 1890 an honorary member of the Society of Canadian Literature. Having chosen to work in the tradition of the English Romantic poets, Sangster responded to his immediate landscape 2 more directly than his predecessors. In his poems, particularly The St. Lawrence and the Saguenay, Sangster depicted his native environment yet he did not use a native form or idiom. The St. Lawrence and the Saguenay is derived from Wordsworth, however, Sangster took for his model one of Wordsworth’s late and less powerful poems, The River Duddon, a sequence of static and picturesque sonnets about a river journey. In a word, it can be said that Sangster wrote for his fellow Canadians and about them and with a Canadian range of attitude. Sangster is really a national poet. Writing among and for people whose reserve is stern, he has audience in view and records his experiences and aspirations with caution. B. Heavysege The second poet of pre-Confederation period is Heavysege, a Montreal poet who wrote for the world and for himself. He wrote of subjects entirely connected with Canada or North America. His natural imagery is Canadian and his range of feeling recalls the Byronic after- glow that he received in England from which he emigrated. Heavysege was born in Liverpool and came to Canada in 1853 in the age of thirty seven. His preoccupation was with drama which was not intended for the stage. In fact, he was preoccupied with the cabinet drama of the romantics. Saul and Jephthah’s Daughter are his two dramas besides poetry. Saul is a cabinet drama which is closer to Paradise Lost than to stage plays. He prepared a text of Saul for a NewYork actress. He had considerable powers as a realist, even as a bitter humorist. It is remarkable to note the dialogues in the play, particularly the dialogues that he gives to the devils who play a large part in the tragedy. Like other nineteenth-century dramatists in the Elizabethan tradition, his approach to tragic character is unsufficiently realistic. Heavysege chose this subject symbolising the struggle, loneliness or sacrifice of the early settlers. Heavysege has put together certain essential ideas : the contrast of human and civilized value with nature disregard of them in a primitive country for God to disappear behind the mask of nature, and the symbolic significance, when that happens, of human sacrifice and the mutilation of the body. C.Charles Mair The third Charles, as we know, is Charles Mair, known for his verse drama, Tecumesh (1886) in which he skilfully handles the native Indian myth. His Tecumesh applies the same pattern to Canadian history. This drama has the same theme of sacrifice – the sacrifice of Tecumesh to which every thing else leads up. The various conflicts between his own fierce loyalties and the vacillations of his friends and enemies are merely the struggles of a doomed victim. It is remarkable to note that it is not only a struggle in his poetry that he pronounces but as a first political poet, he expresses also the claim of equality with the colonial masters. Mair’s drama is roughly the equivalent in the “Indian” sphere of Divine Mother’s writings in Nature sphere. Here the Indian is seen as one of Nature’s Children, living a jolly carefree life until the advent of the White man. It would be in the fitness of things to say that here Indian-as-victim- motif begins to surface, but the main emphasis is on the peacefulness and good behaviour of the Indian. In fact, Sangster, Heavysege and Mair, preferred native myth and carried the same object of sketching the Canadian events of history. What is noticeable in the pre-Confederation poets is that they brought with them British traditions and endeavoured to draw a sketch of Canadian history and rural life in their poetry. In fact, they remained imitative in their treatment. They expressed an immigrant’s sense of loss and displacement or 3 an explorer’s excitement of discovery, pre-Confederation poets initiated the struggle to find suitable language and forms to describe new experiences in a new landscape. 1.3 Confederation Period The second phase of Canadian literature marked the Confederation period which brought the emergence of a national literature. Near the Confederation, Canada gained poets who were national. Charles G.D.Roberts, his cousin Bliss Car-man, Archibald Lampman and D.C.Scott are often called the poets of the Confederation. Their prominence between 1867 and the Great war, their concern with nationalism and their inter-related lives make them truly members of a school of poetry. They, born near the Confederation of 1867, came to their maturity in the 1890s. They drew on the Romantic and Victorian heritage of Britain and America and that was why their work became of imitative nature.
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